{"id":187790,"date":"2023-07-30T09:34:08","date_gmt":"2023-07-30T13:34:08","guid":{"rendered":"https:\/\/www.sheilaomalley.com\/?p=187790"},"modified":"2024-07-28T14:34:02","modified_gmt":"2024-07-28T18:34:02","slug":"sinead","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=187790","title":{"rendered":"Sin\u00e9ad"},"content":{"rendered":"

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\nI normally have words in times like this. Pouring out the words is my way of dealing with the sadness of losing an artist who meant a lot to me. Like with Dean Stockwell. I had to (yes, had to) pull my shit together to write the tribute for Ebert. It was my way of processing what he meant and what we lost.<\/p>\n

But I can’t seem to do that now. <\/p>\n

I was “in” from The Lion and the Cobra<\/i>, her first. Before she “hit”. She “hit” though so hard with The Lion and the Cobra<\/i> that even if she stopped there – even if it went no further – I would have remembered her. Even before “Nothing Compares 2 U.” I’d like to point to my brother Brendan’s amazing essay on that album<\/a>. He says it better than I could.<\/p>\n

Here she is, performing “Troy”, the song Brendan goes into in his essay. It’s live. The recorded version is equally as powerful, and the orchestration behind her is chilling. But here she is, doing it live, and it literally – yes, literally – makes the hair on my neck – my arms – everywhere – stand straight up. It’s unbearable, what she brings. <\/p>\n

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